An endless living world If there is a heaven, and I am allowed entrance, I will ask for no more than an endless living world to walk through and explore. Michael R. Canfield, Field Notes on Science and Nature learningnaturereligionwalking
To find God in the seminary If he were to tire of the Andalusian fields, he could sell his sheep and go to sea. By the time he had had enough of the sea, he would already have known other cities, other women, and other chances to be happy. I couldn't have found God in the seminary, he thought, as he looked at the sunrise. Paulo Coelho, The Alchemist religion
As a kind of gateway Historically, Japan's shrines have been built in order to worship the gods who live in the sacred mountains or seas; They don't reside in the shrine itself, but in the space beyond it. This belief that the spirits and deities exist beyond the confines of the shrine, and that the shrine itself acts not as a centre, but as a kind of gateway, is very different to the grand, imposing churches and cathedrals of Christianity. The majority of shrines are not found in the mountains or in the middle of the fields, therefore, but at the borders of mountain villages – which is to say, at what is seen as the edge of the mountains. The tori gate, marking the entrance to a shrine, indicates that there are gods on the other side of it. Kengo Kuma, My Life as an Architect in Tokyo An edge is an interfacePaths, edges, districts, nodes, landmarks religionedges
The neon god they made And the people bowed and prayed To the neon god they made Paul Simon & Art Garfunkel, The Sound Of Silence religionenergy
Everybody worships Because here’s something else that’s weird but true: in the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god or spiritual-type thing to worship–be it JC or Allah, be it YHWH or the Wiccan Mother Goddess, or the Four Noble Truths, or some inviolable set of ethical principles–is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It’s the truth. Worship your body and beauty and sexual allure and you will always feel ugly. And when time and age start showing, you will die a million deaths before they finally grieve you. David Foster Wallace, This is Water City messages religion
Dwelling in ritual Even a dwelling is a device that generates a distinct pattern of daily activities and their relationships. Some buildings are explicitly built for ritual, but the repetition of any activity, either mundane or religious, tends to ritualize them, and by facilitating this, an architectural structure can turn gradually – sometimes even unnoticeably – into an instrument of ritual. Robert McCarter & Juhani Pallasmaa, Understanding Architecture White cloth ritualpatternsreligion
Who walks beside you? Who is the third who walks always beside you? When I count, there are only you and I together But when I look ahead up the white road There is always another T.S. Eliot, The Waste Land religionwalking
Immer wieder My attitude toward Alexander’s teachings prior to experiencing the places and spaces realized in his practice was akin to what Alan Watts said about certain teachings in The Bible: Sometimes, as St. Paul pointed out, commandments are not given in the expectation that they will be obeyed, but in the expectation that they will reveal something to those who hear them. Today, my answer is unequivocal. My interpretive lens: literal. Time and again, across cultures and continents and islands and oceans, in five different places now I’ve examined the evidence, and am persuaded. Nicht nur einmal: immer wieder. Dan Klyn, Einmal Ist Keinmal blog.usejournal.com religionteaching
The Mind of the Maker A Book by Dorothy Sayers en.wikipedia.org Looking at man, [the author of Genesis] sees in him something essentially divine, but when we turn back to see what he says about the original upon which the “image” of God was modelled, we find only the single assertion, “God created”. The characteristic common to God and man is apparently that: the desire and the ability to make things. Only in terms of other thingsI mix it with two in my thoughtTowards a synthesis of experienceAnd these three are one"The right phrase"+28 More religion
Narcissus and Goldmund A Novel by Herman Hesse www.goodreads.com DualityFear of deathPain and joySuddenly the letter has a tailAll that is beautiful and lovely My own beauty reflected religionlovelife
the speed of God An Article by Alan Jacobs blog.ayjay.org [Andy Crouch] quotes the Japanese theologian Kosuke Koyama saying that “the speed of God” is three miles an hour because that was the speed at which Jesus moved through his world. So maybe, and I think this is one of the chief burdens of Andy’s book, what makes the most sense for us is to try whenever possible to move at the speed of God – and in that way refuse the offer of superpowers. Of course, this dovetails with a lot of things people have been writing lately about slowness, but what I like about Andy’s book is that it specifies why we can find ourselves responding so warmly to the possibility of slowness. What happens when we seek superpowers, and especially super-speed, is the sacrifice of what I want to call our proper powers – the powers through the exercise of which we (heart-soul-mind-strength) flourish in love. The brain is wider than the sky religionloveeuphonyslowness
A Burglar's Guide to the City A Book by Geoff Manaugh burglarsguide.com To commune with the spaceEvery building is infinitePutting the streets to useTopology by other meansBurglary's White Whale+13 More Picking locks with audio technologyThe axis of movementLearning to walk through walls architecturecitiesurbanismcrimetheft
To commune with the space ...having realized long ago that the best way to commune with an architectural space was by breaking into it. crime
Every building is infinite For the burglar, every building is infinite. House of Leaves architecture
Putting the streets to use Tad Friend writes, if you build “nine hundred miles of sinuous highway and twenty-one thousand miles of tangled surface streets” in one city alone, then you’re going to find at least a few people who want to put those streets to use. This suggests that every city blooms with the kinds of crime most appropriate to its form. Burglary's White Whale transportationurbanismcrime
Topology by other means The burglar is a three-dimensional actor amid the two-dimensional surfaces and objects of the city. This means operating with a fundamentally different spatial sense of how architecture should work, and how one room could be connected to another. It means seeing how a building can be stented: engineering short-circuits where mere civilians, altogether less aggressive users of the city, would never expect to find them. Burglary is topology pursued by other means: a new science of the city, proceeding by way of shortcuts, splices, and wormholes. spacetopology
Burglary's White Whale If all cities already contain the crimes that will occur there, then, taken to its logical conclusion, this suggests there might be a kind of Moby-Dick of crime, a White Whale of urban burglary: a town or city so badly designed that the entire place can be robbed in one go. Putting the streets to useInvisible Cities
Tarzan of the concrete jungle Weissmuller was most famous for playing Tarzan, and swinging into his apartment from a ledge outside had a wild irony, like some new Tarzan of the concrete jungle updating the character for an urban age.
The source code for SimCity Local Code was Sorkin’s attempt to design a whole city from scratch—with one big twist. The whole thing had been written as if it were the byzantine, nearly impossible to follow codes and regulations for an entire, hypothetical metropolis. The effect is like stumbling upon the source code for SimCity. Sorkin’s exhaustively made point was that, if you know everything about a given metropolis, from its plumbing standards to its parking requirements, its sewer capacity to the borders of its school districts, then you could more or less accurately imagine the future form of that city from the ground up. Local Code: The Constitution of a City at 42º N Latitude rulesregulations
Architectural dark matter Every building had its rhythms. These service corridors were the internal hinterlands—the architectural dark matter—so beloved by Bill Mason. Sonorisms I euphonyinfrastructure
Vamburglars Burglary was originally only possible in a household or dwelling; the very word contains an etymological variant on the Latin burgus, for “castle” or “fortified home” (from which other words, such as burgher and even borough, also derive). Common law definitions of burglary also originally required the person to break into a house or dwelling at night. Giving historical burglary an oddly vampiric dimension, you could not, legally speaking, be a burglar while the sun was still out. darkness
The close Think of it as an invisible geometric shape perceptible only to lawyers—a conceptual pane of glass that might not have kept the rain out but could, for legal purposes, be used to define the original limits of the car’s interior. This is the close, and defining it is ultimately just a form of connecting the dots: drawing an imaginary line from the corner of an open window to the edge of a nearby wall to the front gate of a home garden, and so on. Breaking the close thus constitutes entry into a “protected interior” or “specified enclosure". law
To deter crime “To deter crime,” Cisneros explains, “spaces should convey to would-be intruders a strong sense that if they enter they are very likely to be observed, to be identified as intruders, and to have difficulty escaping.” Eyes on the street
Architectural sequences Noted designer and architectural theorist Bernard Tschumi would call the predictable repetition of events inside an architectural space a sequence: a linear series of actions and behaviors that are at least partially determined by the design of the space itself. Architectural screenplays architecturebehaviorux
Architectural screenplays Tschumi began to explore this notion through what he called screenplays: each “screenplay” was a black-and-white diagram breaking down a range of events that might occur inside an architectural space. Tschumi drew them in a way that resembled dance notation or the spatial analysis of a film scene. Architectural sequences
The City of Light Streetlights were one of many new patrol tools implemented by Louis XIV’s lieutenant general of police, Gabriel Nicolas de la Reynie. De la Reynie’s plan ordered that lanterns be hung over the streets every sixty feet—with the unintended side effect that Paris soon gained its popular moniker, the City of Light. The world’s most romantic city takes its nickname from a police operation. urbanism
Spatial expectations Loya, who served seven years in prison for multiple bank heists before becoming a writer, explained to me that it was during the getaway that he often had the best chance of thwarting people’s spatial expectations. In his case, this meant that what he did immediately after leaving the bank was often the most important decision of all. Bandits
The getaway to end all getaways Any attempt to track down the perfect getaway is made all the more complex because almost everything we know about burglary—including how they did (or did not) get away—comes from the burglars we’ve caught. As sociologist R. I. Mawby pithily phrases this dilemma, “Known burglars are unrepresentative of burglars in general.” Great methodological despair is hidden in such a comment. Studying burglary is thus a strangely Heisenbergian undertaking, riddled with uncertainty and distorted by moving data points. The getaway to end all getaways—the one that leaves us all scratching our heads—to no small extent remains impossible to study. failure
Every heist is a counterdesign Heists obsess people because of what they reveal about architecture’s peculiar power: the design of new ways of moving through the world. Every heist is thus just a counterdesign—a response to the original architect. crimearchitecture
All the things we want to do This is precisely where “burglary” becomes a myth, a symbol, a metaphor: it stands in for all the things people really want to do with the built environment, what they really want to do to sidestep the obstacles of their lives. Rage rooms urbanismlife